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Wikipedia Summary for Ben Gazzara
Biagio Anthony Gazzara (August 28, 1930 – February 3, 2012) was an American actor and director of film, stage, and television. He received numerous accolades, including a Primetime Emmy Award and a Drama Desk Award, in addition to nominations for three Golden Globe Awards and three Tony Awards.
Born to Italian immigrants in New York City, Gazzara studied at The New School and began his professional career with the Actors Studio, of which he was a lifelong member. His breakthrough role was in the Broadway play Cat on a Hot Tin Roof (1955–56), which earned him widespread acclaim and the first of three Tony nominations for Best Actor in a Play. A memorable performance as a soldier on trial for murder in Otto Preminger's Anatomy of a Murder (1959) transitioned him to an equally successful screen career. As the star of the television series Run for Your Life (1965–1968), Gazzara was nominated for three Golden Globes and two Emmy Awards. He won his only Emmy Award for the television film Hysterical Blindness (2002).
His other best-known films include The Bridge at Remagen (1969), Capone (1975) Voyage of the Damned (1976), Saint Jack (1979), Road House (1989), The Spanish Prisoner (1997), The Big Lebowski (1998), Buffalo '66 (1998), Happiness (1998), The Thomas Crown Affair (1999), Summer of Sam (1999), Dogville (2003) and Paris, je t'aime (2006). He was a recurring collaborator with John Cassavetes, working with him on Husbands (1970), The Killing of a Chinese Bookie (1976) and Opening Night (1977). He also had a successful and prolific film career in Europe, particularly Italy, where he worked with preeminent directors like Giuseppe Tornatore, Giuliano Montaldo, Marco Ferreri, and Lars von Trier.
Gazzara was known for his gritty, naturalistic portrayals of intense, often amoral characters. According to The Hollywood Reporter, "Gazzara positioned himself for 'creative elbow room,' seeking edgy characters in non-mainstream productions or infusing mainstream productions with idiosyncratic supporting turns."
I hate just showing up, hitting a mark, doing your work, and going home. It's very boring. But being part of the creation of the whole thing is very exciting.
I think cinema is better today that you can be more daring with what you do. If you do it well. With that comes a responsibility not to bore people with vulgarity and all that stuff. To know how to do it right, know how to lay it out there.
Some actors seek parts similar to their personalities. But, I prefer undergoing a metamorphosis that depends on the role .
I love awards, especially if I get them. It's up to the courage of the filmmakers to make art in cinema, not just business. John was rejected by studios, he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.
You achieve because you're lucky to work with people who are very talented.
It's up to the courage of the filmmakers to make art in cinema, not just business. John was rejected by studios, he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.
I love awards, especially if I get them.
Audrey was a princess, so natural, the camera really loved her... James and I kept each other company during all the rejections. We used to meet, have a cup of coffee and went from office to office to get work and never got work.